Armory Show

The Armory Show, also known as the International Exhibition of Modern Art, was a show organized by the Association of American Painters and Sculptors in 1913. It was the first large exhibition of modern art in America, as well as one of the many exhibitions that have been held in the vast spaces of U.S. National Guard armories.

The three-city exhibition started in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, from February 17 until March 15, 1913.[1] The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston,[2] where, due to a lack of space, all the work by American artists was removed.[3]

The show became an important event in the history of American art, introducing astonished Americans, who were accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The show served as a catalyst for American artists, who became more independent and created their own "artistic language."

The origins of the show lie in the emergence of progressive groups and independent exhibitions in the early 20th century (with significant French precedents), which challenged the aesthetic ideals, exclusionary policies, and authority of the National Academy of Design, while expanding exhibition and sales opportunities, enhancing public knowledge, and enlarging audiences for contemporary art.[4]

1913 Armory Show
Armory Show button, 1913
Armory show button, 1913
DateFebruary 17, 1913 to March 15, 1913
Location69th Regiment Armory, New York, NY
Also known asThe International Exhibition of Modern Art
ParticipantsArtists in the Armory Show
ArmoryShow poster
Armory Show poster

History

Sloan cubism
"A slight attack of third dimentia [sic] brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York" by John French Sloan, April 1913.
Walter Pach, circa 1909
Exhibition organizer Walter Pach, circa 1909
Arthur B. Davies, circa 1908
Exhibition organizer Arthur B. Davies, circa 1908

On December 14, 1911 an early meeting of what would become the Association of American Painters and Sculptors (AAPS) was organized at Madison Gallery in New York. Four artists met to discuss the contemporary art scene in the United States, and the possibilities of organizing exhibitions of progressive artworks by living American and foreign artists, favoring works ignored or rejected by current exhibitions. The meeting included Henry Fitch Taylor, Jerome Myers, Elmer Livingston MacRae and Walt Kuhn.[5]

In January 1912, Walt Kuhn, Walter Pach, and Arthur B. Davies joined together with some two dozen of their colleagues to reinforce a professional coalition: AAPS. They intended the organization to "lead the public taste in art, rather than follow it."[6] Other founding AAPS members included D. Putnam Brinley, Gutzon Borglum, John Frederick Mowbray-Clarke, Leon Dabo, William J. Glackens, Ernest Lawson, Jonas Lie, George Luks, Karl Anderson, James E.Fraser, Allen Tucker, and J. Alden Weir.[6] AAPS was to be dedicated to creating new exhibition opportunities for young artists outside of the existing academic boundaries, as well as to providing educational art experiences for the American public.[1] Davies served as president of AAPS, with Kuhn acting as secretary.

The AAPS members spent more than a year planning their first project: the International Exhibition of Modern Art, a show of giant proportions, unlike any New York had seen. The 69th Regiment Armory was settled on as the main site for the exhibition in the spring of 1912, rented for a fee of $5,000, plus an additional $500 for additional personnel.[7] It was confirmed that the show would later travel to Chicago and Boston.

Once the space had been secured, the most complicated planning task was selecting the art for the show, particularly after the decision was made to include a large proportion of vanguard European work, most of which had never been seen by an American audience.[1] In September 1912, Kuhn left for an extended collecting tour through Europe, including stops at cities in England, Germany, the Netherlands, and France, visiting galleries, collections and studios and contracting for loans as he went.[8] While in Paris Kuhn met up with Pach, who knew the art scene there intimately, and was friends with Marcel Duchamp and Henri Matisse; Davies joined them there in November 1912.[1] Together they secured three paintings that would end up being among the Armory Show's most famous and polarizing: Matisse's "Blue Nude (Souvenir de Biskra)" and "Madras Rouge (Red Madras Headdress),"and Duchamp's "Nude Descending a Staircase, No. 2." Only after Davies and Kuhn returned to New York in December did they issue an invitation for American artists to participate.[1]

Armory Show, International Exhibition of Modern Art, Chicago, 1913. The Cubist room
Armory Show, Chicago, 1913. The Cubist room

Pach was the only American artist to be closely affiliated with the Section d'Or group of artists, including Albert Gleizes, Jean Metzinger, Duchamp brothers Marcel Duchamp, Raymond Duchamp-Villon, Jacques Villon and others. Pach was responsible for securing loans from these painters for the Armory Show. Most of the artists in Paris who sent works to the Armory Show knew Pach personally and entrusted their works to him.[9]

The Armory Show was the first, and, ultimately, the only exhibition mounted by the AAPS. It displayed some 1,300 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented.[10] The publicity that stormed the show had been well sought, with the publication of half-tone postcards of 57 works, including the Duchamp nude that would become its most infamous.[11] News reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, former President Theodore Roosevelt declared, "That's not art!"[12] The civil authorities did not, however, close down or otherwise interfere with the show.

Among the scandalously radical works of art, pride of place goes to Marcel Duchamp's cubist/futurist style Nude Descending a Staircase, painted the year before, in which he expressed motion with successive superimposed images, as in motion pictures. Julian Street, an art critic, wrote that the work resembled "an explosion in a shingle factory" (this quote is also attributed to Joel Spingarn[13]), and cartoonists satirized the piece. Gutzon Borglum, one of the early organizers of the show who for a variety of reasons withdrew both his organizational prowess and his work, labeled this piece A staircase descending a nude, while J. F. Griswold, a writer for the New York Evening Sun, entitled it The rude descending a staircase (Rush hour in the subway).[14] The painting was purchased from the Armory Show by Fredric C. Torrey of San Francisco.[15]

The purchase of Paul Cézanne's Hill of the Poor (View of the Domaine Saint-Joseph) by the Metropolitan Museum of Art signaled an integration of modernism into the established New York museums, but among the younger artists represented, Cézanne was already an established master.

Duchamp's brother, who went by the "nom de guerre" Jacques Villon, also exhibited, sold all his Cubist drypoint etchings, and struck a sympathetic chord with New York collectors who supported him in the following decades.

The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston,[2] where, due to a lack of space, all the work by American artists was removed.[3]

While in Chicago, the exhibition created a scandal that reached the governors office. Several articles in the press recounted the issue. In one newspaper the headline read: Cubist Art Will be Investigated; Illinois Legislative Investigators to Probe the Moral Tone of the Much Touted Art:

Chicago, April 2: Charges that the international exhibition of cubist and futurist pictures, now being displayed here at the art institute, contains many indecent canvasses and sculptures will be investigated at once by the Illinois legislature white slave commission. A visit of an investigator to the show and his report on the pictures caused Lieutenant Governor Barratt O'Hara to order an immediate examination of the entire exhibition. Mr. O'Hara sent the investigator to look over the pictures after he had received many complaints of the character of the show. "We will not condemn the international exhibit without an impartial investigation," said the lieutenant governor today. "I have received many complaints, however, and we owe it to the public that the subject be looked into thoroughly." The investigator reported that a number of the pictures were "immoral and suggestive." Senators Woodward and Beall of the commission will visit the exhibition today.

— Ottumwa Tri-Weekly Courier, Iowa, 3 April 1913[16]

Floor plan

Marcel Duchamp, Jacques Villon, Raymond Duchamp-Villon in the garden of Villon's studio, Puteaux, France, c.1913
Marcel Duchamp, Jacques Villon, Raymond Duchamp-Villon, and Villon's dog Pipe in the garden of Villon's studio, Puteaux, France, ca. 1913. All three brothers were included in the exhibition.

The following shows the content of each gallery:[17]

  • Gallery A: American Sculpture and Decorative Art
  • Gallery B: American Paintings and Sculpture
  • Gallery C, D, E, F: American Paintings
  • Gallery G: English, Irish and German Paintings and Drawings
  • Gallery H, I: French Painting and Sculpture
  • Gallery J: French Paintings, Water Colors and Drawings
  • Gallery K: French and American Water Colors, Drawings, etc.
  • Gallery L: American Water Colors, Drawings, etc.
  • Gallery M: American Paintings
  • Gallery N: American Paintings and Sculpture
  • Gallery O: French Paintings
  • Gallery P: French, English, Dutch and American Paintings
  • Gallery Q: French Paintings
  • Gallery R: French, English and Swiss Paintings

Legacy

Robert Henri - Figure en mouvement
Robert Henri, Figure in Motion, 1913, Art Institute of Chicago.

The original exhibition was an overwhelming success. There have been several exhibitions that were celebrations of its legacy throughout the 20th century.[18]

In 1944 the Cincinnati Art Museum mounted a smaller version, in 1958 Amherst College held an exhibition of 62 works, 41 of which were in the original show, and in 1963 the Munson-Williams-Proctor Arts Institute in Utica, New York organized the "1913 Armory Show 50th Anniversary Exhibition" sponsored by the Henry Street Settlement in New York, which included more than 300 works.[18]

Experiments in Art and Technology (E.A.T.) was officially launched by the engineers Billy Klüver and Fred Waldhauer and the artists Robert Rauschenberg and Robert Whitman when they collaborated in 1966 and together organized 9 Evenings: Theatre and Engineering, a series of performance art presentations that united artists and engineers. Ten artists worked with more than 30 engineers to produce art performances incorporating new technology. The performances were held in the 69th Regiment Armory, as an homage to the original and historical 1913 Armory show.[19][20]

In February 2009, the Art Dealers Association of America (ADAA) presented its 21st annual Art Show to benefit the Henry Street Settlement, at the Seventh Regiment Armory, located between 66th and 67th Streets and Park and Lexington Avenues in New York City. The exhibition began as a historical homage to the original 1913 Armory Show.

Starting with a small exhibition in 1994, by 2001 the "New" New York Armory Show, held in piers on the Hudson River, evolved into a "hugely entertaining" (The New York Times) annual contemporary arts festival with a strong commercial bent. The 2008 and 2009 Armory Shows did not hold back on the more crude and vulgar works, which are not unknown for the show, which has been less tame in past years.

Commemorating the centennial

Many exhibitions in 2013 celebrated the 100th anniversary of the 1913 Armory Show, as well as a number of publications, virtual exhibitions, and programs. The first exhibition, "The New Spirit: American Art in the Armory Show, 1913," opened at the Montclair Art Museum on February 17, 2013, a hundred years to the day from the original.[1] The second exhibition was organized by the New-York Historical Society and titled "The Armory Show at 100," taking place from October 18, 2013 through February 23, 2014.[21] The Smithsonian's Archives of American Art, which lent dozens of historic documents to both the New York Historical Society and Montclair for the exhibitions, created an online timeline of events, 1913 Armory Show: the Story in Primary Sources, to showcase the records and documents created by the show's organizers.[22]

Showing contemporary work, a third exhibition, The Fountain Art Fair, was held at the 69th Regiment Armory itself during the 100th anniversary during March 8–10, 2013. The ethos of Fountain Art Fair was inspired by Duchamp's famous, "Fountain" which was the symbol of the Fair.[23] The Art Institute of Chicago, which was the only museum to host the 1913 Armory Show, presented works February 20 – May 12, 2013, the items drawn from the museum's modern collection that were displayed in the original 1913 exhibition.[24] The DePaul Art Museum in Chicago, Illinois presented For and Against Modern Art: The Armory Show +100, from April 4 to June 16, 2013.[25] The International Print Center in New York held an exhibition, "1913 Armory Show Revisited: the Artists and their Prints," of prints from the show or by artists whose work in other media was included.[11]

In addition, the Greenwich Historical Society presented The New Spirit and the Cos Cob Art Colony: Before and After the Armory Show, from October 9, 2013, through January 12, 2014. The show focused on the effects of the Armory Show on the Cos Cob Art Colony, and highlighted the involvement of artists such as Elmer Livingston MacRae and Henry Fitch Taylor in producing the show.[26]

American filmmaker Michael Maglaras produced a documentary film about the Armory Show entitled, The Great Confusion: The 1913 Armory Show. The film premiered on September 26, 2013, at the New Britain Museum of American Art in New Britain, Connecticut.[27]

List of artists

Below is a partial list of the artists in the show. These artists are all listed in the 50th anniversary catalog as having exhibited in the original 1913 Armory show.[18]

List of women artists

Women artists in the Armory Show includes those from the United States and from Europe. Approximately a fifth of the artists showing at the armory were women, many of whom have since been neglected.[28]

Images

A list written by Pablo Picasso of European artists to be included in the 1913 Armory Show, 1912. Walt Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution
A list written in 1912 by Pablo Picasso of European artists he felt should be included in the 1913 Armory Show. This document dispels the assertion that an unbridgeable divide separated the Salon Cubists from the Gallery Cubists. Walt Kuhn family papers and Armory Show records, Archives of American Art, Smithsonian Institution.
Armory Show 1

Entrance of the Exhibition, 1913, New York City

Armory Show 2

Interior view of the exhibition, 1913, New York City

Armory Show 3

Interior view of the exhibition, 1913, New York City

Armory Show artists and members of the press at the beefsteak dinner given by the Association of American Painters and Sculptors, 8 March 1913

Armory Show artists and members of the press at the beefsteak dinner given by the Association of American Painters and Sculptors, March 8, 1913. Percy Rainford, photographer. Walt Kuhn family papers and Armory Show records, Archives of American Art, Smithsonian Institution

Installation shot of the Matisse room, 1913 Armory Show, published in the New York Tribune, February 17, 1913, p. 7

Installation shot of the Matisse room, 1913 Armory Show, published in the New York Tribune (p. 7), February 17, 1913. From the left: Le Luxe II, 1907–08, Statens Museum for Kunst, Copenhagen; "Blue Nude (Souvenir de Biskra), 1907, Baltimore Museum of Art; L'Atelier Rouge, 1911, Museum of Modern Art, New York City

Armory Show, 1913, the Cubist room, Raymond Duchamp-Villon, Albert Gleizes, Marcel Duchamp, Alexander Archipenko, New York Tribune, 17 February 1913, p. 7

Installation shot of the Cubist room, published in the New York Tribune, February 17, 1913 (p. 7). Left to right: Raymond Duchamp-Villon, La Maison Cubiste (Projet d'Hotel), Cubist House; Marcel Duchamp Nude (Study), Sad Young Man on a Train; Albert Gleizes, L'Homme au Balcon, Man on a Balcony; Marcel Duchamp, Nude Descending a Staircase, No. 2; Alexander Archipenko, La Vie Familiale, Family Life

Selected painting and sculpture

Christ sur la mer de Galilée (Delacroix) Walters Art Museum 37.186

Eugène Delacroix, Christ on the Sea of Galilee, 1854

Honoré Daumier (French, Marseilles 1808–1879 Valmondois) - The Third-Class Carriage - Google Art Project

Honoré Daumier, The Third Class Wagon, 1862–1864

Edouard Manet 063

Édouard Manet, The Bullfight, 1866

Whistlers Mother high res

James Abbott McNeill Whistler, Arrangement in Grey and Black: The Artist's Mother 1871, popularly known as Whistler's Mother, Musée d'Orsay, Paris. Although Whistler was represented by four paintings in the Armory show this was not included.

Pierre-Auguste Renoir - In the Garden

Pierre-Auguste Renoir, In The Garden 1885, Hermitage Museum, St. Petersburg

Mary Cassatt, 1902, Reine Lefebre and Margot before a Window

Mary Cassatt, Mère et enfant (Reine Lefebre and Margot before a Window), c.1902

Vincent van Gogh, Self-Portrait, c. 1887, oil on canvas, 15 ¾ by 13 ⅜ inches. Wadsworth Athenaeum Museum of Art, Hartford, Connecticut

Vincent van Gogh, Self-Portrait, c. 1887, oil on canvas, 40 x 34 cm (15 ¾ by 13 ⅜ in). Wadsworth Atheneum Museum of Art, Hartford, CT

Adeline Ravoux

Vincent van Gogh, Portrait of Adeline Ravoux 1890, Cleveland Museum of Art

Van Gogh - Berglandschaft in Saint-Rémy.jpeg

Vincent van Gogh, Mountain in Saint-Rémy, 1889, Solomon R. Guggenheim Museum

Albert Pinkham Ryder 003

Albert Pinkham Ryder, Seacoast in Moonlight, 1890, the Phillips Collection, Washington, D.C.

Words of the Devil

Paul Gauguin, Words of the Devil, 1892, National Gallery of Art, Washington, DC.

Paul Gauguin 121

Paul Gauguin, Nature morte à l'estampe japonaise (Flowers Against a Yellow Background), 1889, oil on canvas, 72.4 × 93.7 cm, Museum of Contemporary Art, Tehran

Paul Gauguin 051

Paul Gauguin, Tahitian Pastorals, (Reo Mā`ohi: Faa iheihe (Fa'ai'ei'e)), 1898, National Gallery on loan from the Tate

Henri Rousseau (French) - A Centennial of Independence - Google Art Project

Henri Rousseau, The Centenary of the Revolution, 1892

Henri Rousseau, 1910, Cheval attaqué par un jaguar (Jaguar Attacking a Horse), oil on canvas, 116 x 90 cm, Pushkin Museum

Henri Rousseau, Cheval attaqué par un jaguar (Jaguar Attacking a Horse), 1910, oil on canvas, 116 x 90 cm, Pushkin Museum

Edvard Munch - Vampire (1895) - Google Art Project

Edvard Munch, Vampire 1893–94, Nasjonalgalleriet, Oslo

Vieille femme au rosaire, par Paul Cézanne

Paul Cézanne, Old Woman with Rosary, 1895–1896

Paul Cézanne 013

Paul Cézanne, Baigneuses, 1877–1878

Julian Alden Weir 001

Julian Alden Weir, The Red Bridge, 1895

Water-Lilies-and-Japanese-Bridge-(1897-1899)-Monet

Claude Monet, Water Lilies and Japanese Bridge, 1897–1899

JohnTwachtman-Hemlock Pool c1900

John Twachtman, Hemlock Pool, c.1900

Henri Edmond Cross 001

Henri-Edmond Cross, Cypresses at Cagnes, c.1900

Paul Signac Port de Marseille

Paul Signac, Port de Marseille, 1905, Metropolitan Museum of Art

André Derain, 1912, Window on the Park (La Fênetre sur le parc), 130.8 x 89.5 cm (51.5 x 35.25 in), Museum of Modern Art, NY

André Derain, 1912, Window on the Park (La Fênetre sur le parc), 130.8 × 89.5 cm, Museum of Modern Art, New York

Landscape in Provence (Paysage de Provence) - André Derain

André Derain, Landscape in Provence (Paysage de Provence) (c. 1908), Brooklyn Museum, Brooklyn

Odilon Redon, Le Silence

Odilon Redon, Le Silence, 1900, pastel, 54.6 × 54 cm, Museum of Modern Art, New York

Roger and Angelica-Redon

Odilon Redon, Roger and Angelica, 1910

Both Members of This Club George Bellows.jpeg

George Bellows, Both Members of This Club, 1909

Landscape with Figures by Othon Friesz 1909

Othon Friesz, Landscape with Figures, 1909, oil on canvas, 65 × 83 cm

Cardoso02

Amadeo de Souza Cardoso, Saut du Lapin, 1911

Amadeo Avant la Corrida 1912 oil on canvas 60x92cm

Amadeo de Souza Cardoso, Avant la Corrida, 1912, oil on canvas, 60 × 92 cm, Calouste Gulbenkian Foundation, Lisbon, Portugal

Robert W. Chanler, Leopard and Deer

Robert Winthrop Chanler, Leopard and Deer, 1912, gouache or tempera on canvas, mounted on wood, 194.3 × 133.4 cm, Rokeby Collection

Edward Middleton Manigault - The Clown (1912)

Edward Middleton Manigault, The Clown, 1910–12, oil on canvas, 86.4 × 63.2 cm, Columbus Museum of Art, Ohio

Still Life Patrick Henry Bruce.jpeg

Patrick Henry Bruce, Still Life, ca. 1912

Ernst Ludwig Kirchner Spielende nackte Menschen 1910-1

Ernst Ludwig Kirchner, Naked Playing People, 1910

Vassily Kandinsky, 1912 - Improvisation 27, Garden of Love II

Wassily Kandinsky, Improvisation 27 (Garden of Love II), 1912, oil on canvas, 47 3/8 x 55 1/4 in. (120.3 x 140.3 cm), The Metropolitan Museum of Art, New York

Maurice B. Prendergast, Landscape With Figures, 1913

Maurice Prendergast, Landscape With Figures, 1913

Robert Henri - Figure en mouvement

Robert Henri, Figure in Motion, 1913

Arthur B. Davies - Reclining Woman (Drawing), 1911

Arthur B. Davies, Reclining Woman (Drawing),, 1911, Pastel on gray paper

Matisse.mme-matisse-madras

Henri Matisse, Madras Rouge, The Red Turban, 1907, Barnes Foundation

Henri Matisse, Le Luxe II, 1907–8, Distemper on canvas; 82 1-2 x 54 3-4 in. (209.5 x 138 cm), Statens Museum for Kunst, Copenhagen

Henri Matisse, Le Luxe II, 1907–08, distemper on canvas, 209.5 × 138 cm, Statens Museum for Kunst, Copenhagen

Atelier rouge matisse 1

Henri Matisse, L'Atelier Rouge, 1911, oil on canvas, 162 × 130 cm., The Museum of Modern Art

Pablo Picasso, 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 x 60 cm, Gemeentemuseum, The Hague. Exhibited at the Armory Show, New York, Chicago, Boston 1913

Pablo Picasso, 1910, Woman with Mustard Pot (La Femme au pot de moutarde), oil on canvas, 73 x 60 cm, Gemeentemuseum, The Hague

Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art

Georges Braque, Violin: "Mozart Kubelick", 1912, oil on canvas, 45.7 × 61 cm, Metropolitan Museum of Art

Marcel Duchamp, 1911-12, Nude (Study), Sad Young Man on a Train (Nu -esquisse-, jeune homme triste dans un train), Peggy Guggenheim Collection, Venice

Marcel Duchamp, 1911-1912, Nude (Study), Sad Young Man on a Train (Nu, esquisse, jeune homme triste dans un train), oil on cardboard mounted on Masonite, 100 × 73 cm, Peggy Guggenheim Collection, Venice

Francis Picabia, ca.1910, Grimaldi après la pluie (after the rain), location unknown

Francis Picabia, Grimaldi après la pluie (believed to be Souvenir of Grimaldi, Italy), ca. 1912, location unknown

Francis Picabia, The Dance at the Spring, 1912, oil on canvas, Philadelphia Museum of Art

Francis Picabia, The Dance at the Spring, 1912, oil on canvas, 47 7/16 × 47 1/2 inches (120.5 × 120.6 cm), Philadelphia Museum of Art, Philadelphia

Francis Picabia, 1912, The Procession, Seville, oil on canvas, 121.9 x 121.9 cm, National Gallery of Art, Washington DC

Francis Picabia, The Procession, Seville, 1912, oil on canvas, 121.9 × 121.9 cm, National Gallery of Art, Washington DC.

Robert Delaunay- Window on the City, No. 4 1910-11 (1912)

Robert Delaunay, Window on the City, No. 4, 1910-11 (1912)

Jacques Villon, 1912, Girl at the Piano, oil on canvas, 129.2 x 96.4 cm, Museum of Modern Art, New York..

Jacques Villon, 1912, Girl at the Piano (Fillette au piano), oil on canvas, 129.2 x 96.4 cm, oval, Museum of Modern Art, New York. Exhibited at the 1913 Armory Show, New York, Chicago and Boston. Purchased from the Armory Show by John Quinn

Aristide Maillol, Bas Relief, terracota, Armory Show catalogue image

Aristide Maillol, Bas Relief, terracotta. Exhibited at the 1913 Armory Show, New York, Chicago, Boston. Catalogue image (no. 110)

Alexander Archipenko, 1910-11, Negress (La Negresse), Armory Show catalogue photo

Alexander Archipenko, 1910–11, Negress (La Negresse), Armory Show catalogue photo

Alexander Archipenko, La Vie Familiale, Family Life, 1912

Alexander Archipenko, La Vie Familiale (Family Life), 1912. Exhibited at the 1912 Salon d'Automne, Paris and the 1913 Armory Show in New York, Chicago and Boston. The original sculpture (approx six feet tall) was accidentally destroyed

Alexander Archipenko, 1912, Le Repos, Armory Show post card, 1913

Alexander Archipenko, Le Repos, 1912, Armory Show postcard published in 1913

Constantin Brancusi, 1909, Portrait De Femme (La Baronne Renée Frachon), now lost. Armory Show, published press clipping, 1913

Constantin Brâncuși, 1909, Portrait De Femme (La Baronne Renée Frachon), now lost. Armory Show, published press clipping, 1913

Constantin Brancusi, Portrait of Mlle Pogany, 1912, Philadelphia Museum of Modern Art, Philadelphia

Constantin Brâncuși, 1912, Portrait of Mlle Pogany, Philadelphia Museum of Art. Armory Show postcard

Constantin Brancusi, 1907-08, The Kiss, Exhibited at the Armory Show and published in the Chicago Tribune, 25 March 1913.

Constantin Brâncuși, The Kiss, 1907-1908, published in the Chicago Tribune, March 25, 1913

Constantine Brancusi, Une Muse, 1912, plaster, 45.7 cm (18 in.). Armory Show postcard

Constantin Brâncuși, Une Muse, 1912, plaster, 45.7 cm (18 in.) Armory Show postcard. Exhibited: New York (no. 618); The Art Institute of Chicago (no. 26) and Boston, Copley Hall (no. 8)

Andrew Dasburg, Lucifer, 1913, plaster of Paris, exhibited at the 1913 Armory show, no. 647

Andrew Dasburg, ca. 1912, Lucifer, plaster of Paris, no. 647 of the catalogue. Dasburg extensively reworked by carving directly into a sculpture of a life-size plaster head by Arthur Lee.(American Studies at the University of Virginia)

Abastenia St. Leger Eberle, 1912-13, The White Slave

Abastenia St. Leger Eberle, 1912–13, The White Slave. Photograph from The Survey, Journal Publication, Ohio, May 3, 1913

John Frederick Mowbray-Clarke, Group, Armory show postcard, 1913

John Frederick Mowbray-Clarke, ca. 1912, Group, sculpture, Armory show postcard

Wilhelm Lehmbruck, 1911, Femme á genoux (The Kneeling One), cast stone, plaster, 176 x 138 x 70 cm (69.2 x 54.5 x 27.5 in), Armory Show postcard

Wilhelm Lehmbruck, 1911, Femme á genoux (The Kneeling One), cast stone, 176 × 138 × 70 cm, Armory Show postcard

Raymond Duchamp-Villon, 1910, Torse de jeune homme (Torso of a young man), terracotta, Armory Show postcard, published 1913

Raymond Duchamp-Villon, 1910–11, Torse de jeune homme (Torso of a young man), terracotta, 60.4 cm (23 3/4 in), Armory Show postcard, published 1913. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

Rock Drill by Jacob Epstein

Jacob Epstein, The Rock Drill, 1913, in its original form, it is now lost.

Héraklès tue les oiseaux du lac Stymphale

Antoine Bourdelle, Herakles the Archer, 1909

George Grey Barnard, The Birth, marble, exhibited at the Armory Show, 1913

George Grey Barnard, The Birth, c. 1913, marble

Special installation

La Maison Cubiste (Cubist House)

Raymond Duchamp-Villon, 1912, Projet d'hôtel, Maquette de la façade de la Maison Cubiste, published in Les Peintres Cubistes, 1913
Raymond Duchamp-Villon, 1912, Study for La Maison Cubiste, Projet d'Hotel (Cubist House), plaster, H. 3 meters by W. 10 meters. Image published in Les Peintres Cubistes, by Guillaume Apollinaire, March 17, 1913

At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism ...".[29] "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye".[30] La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon.[31] This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston,[32] listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).[33][34]

Sources

  • Sarah Douglas. "Pier Pressure." March 26, 2008. Archived on April 11, 2008.
  • Catalogue of International Exhibition of Modern Art, at the Armory of the Sixty-Ninth Infantry, Feb 15 to March 15, 1913. Association of American Painters and Sculptors, 1913.
  • Walt Kuhn. The Story of the Armory Show. New York, 1938.
  • Milton W. Brown. The Story of the Armory Show. Joseph H. Hirshhorn Foundation, distributed by New York Graphic Society, 1963. [republished by Abbeville Press, 1988.]
  • 1913 Armory Show 50th Anniversary Exhibition. Text by Milton W. Brown. Utica: Munson-Williams-Proctor Institute, 1963.
  • Walter Pach Papers, Archives of American Art, Smithsonian Institution
  • Walt Kuhn, Kuhn Family Papers, and Armory Show Records, Archives of American Art, Smithsonian Institution

See also

References

  1. ^ a b c d e f Cotter, Holland (October 28, 2012). "Rethinking the Armory Show". The New York Times. p. 1.
  2. ^ a b International Exhibition of Modern Art, Copley Society of Boston, Copley Hall, Boston, Mass., 1913
  3. ^ a b Brown, Milton W., The Story of the Armory Show, Joseph H Hirshhorn Foundation, New York, 1963, pp. 185–186
  4. ^ Berman, Avis (2000). As National as the National Biscuit Company; The Academy, the Critics, and the Armory Show, Rave Reviews American Art and Its Critics, 1826–1925. New York: National Academy of Design. p. 131.
  5. ^ 1913 Armory Show, The Story in Primary Sources (Timeline)
  6. ^ a b "New York Armory Show of 1913". AskArt.com. Retrieved February 1, 2013.
  7. ^ "Securing a Space: The 69th Regiment Armory". 1913 Armory Show: the Story in Primary Sources. Archives of American Art, Smithsonian Institution. Retrieved February 1, 2013.
  8. ^ "Walt Kuhn's Itinerary through Europe, 1912". 1913 Armory Show: the Story in Primary Sources. Archives of American Art, Smithsonian Institution. Retrieved February 1, 2013.
  9. ^ Laurette E. McCarthy, Walter Pach, Walter Pach (1883–1958), The Armory Show and the Untold Story of Modern Art in America, Penn State Press, 2011
  10. ^ McShea, Megan, A Finding Aid to the Walt Kuhn Family Papers and Armory Show Records, 1859–1978 (bulk 1900–1949), Archives of American Art, Smithsonian Institution.
  11. ^ a b Andress, Sarah. "1913 Armory Show Revisited: The Artists and their Prints," Art in Print Vol. 3 No. 2 (July–August 2013).
  12. ^ Theodore Roosevelt's review of the Armory Show for The Outlook, published on March 29, 1913, was entitled "A Layman's View of an Art Exhibition". See Edmund Morris, Colonel Roosevelt (Random House, New York, 2010; ISBN 978-0-375-50487-7), pages 267–272 and 660–663. According to Morris, Roosevelt's review looked with some favor upon the new American artists.
  13. ^ Joel Spingarn, p. 110
  14. ^ Brown, Milton W., The Story of the Armory Show, Joseph H Hirshhorn Foundation, New York, 1963, p. 110
  15. ^ xroads. Univ. of Virginia
  16. ^ Cubist Art Will be Investigated; Illinois legislative Investigators to Probe the Moral Tone of the Much Touted Art, Ottumwa Tri-Weekly Courier (Ottumwa, Iowa), 3 April 1913. Chronicling America: Historic American Newspapers. Lib. of Congress
  17. ^ "Gallery Map". University of Virginia. Retrieved February 16, 2018.
  18. ^ a b c 1913 Armory Show 50th Anniversary Exhibition 1963 copyright and organized by Munson-Williams-Proctor Arts Institute, copyright and sponsored by the Henry Street Settlement, New York City, Library of Congress card number 63-13993
  19. ^ Vehicle, online. Retrieved September 25, 2008.
  20. ^ documents, history online. Retrieved September 25, 2008.
  21. ^ "The Armory Show at 100". New-York Historical Society. Retrieved February 1, 2013.
  22. ^ "1913 Armory Show: The Story in Primary Sources". Archives of American Art, Smithsonian Institution. Retrieved February 1, 2013.
  23. ^ "Fountain Art Fair". Retrieved February 24, 2013.
  24. ^ "Celebrating the Armory Show". Retrieved March 12, 2013.
  25. ^ "Armory Show". Retrieved March 12, 2013.
  26. ^ Greenwich Historical Society
  27. ^ "World Premier Film Event: The Great Confusion: The 1913 Armory Show". Connecticut Magazine. Connecticutmag.com. 2013.
  28. ^ Shircliff, Jennifer Pfeifer (May 2014). Women of the 1913 Armory Show: Their Contributions to the Development of American Modern Art. Louisville, Kentucky: University of Louisville. Retrieved November 15, 2014.
  29. ^ Albert Gleizes and Jean Metzinge, except from Du Cubisme, 1912
  30. ^ Christopher Green, Art in France: 1900–1940, Chapter 8, Modern Spaces; Modern Objects; Modern People, 2000
  31. ^ La Maison Cubiste, 1912 Archived March 13, 2013, at the Wayback Machine
  32. ^ Kubistische werken op de Armory Show
  33. ^ Duchamp-Villon's Façade architecturale, 1913
  34. ^ "Catalogue of international exhibition of modern art: at the Armory of the Sixty-ninth Infantry, 1913, Duchamp-Villon, Raymond, Facade Architectural

External links

External video
MoMA Celebrates 1913: Constantin Brancusi’s Mlle Pogany, Museum of Modern Art

1913 Armory Show

Armory shows after 1913

Coordinates: 40°44′28.44″N 73°59′00.54″W / 40.7412333°N 73.9834833°W

69th Regiment Armory

The 69th Regiment Armory is located at 68 Lexington Avenue between East 25th and 26th Streets in the Rose Hill section of Manhattan, New York City. The historic building began construction in 1904 and was completed in 1906. The building is still used to house the headquarters of the New York Army National Guard's 1st Battalion, 69th Infantry Regiment (known as the "Fighting Irish" since Gettysburg), as well as for the presentation of special events. The armory was designed by the firm of Hunt & Hunt, and was the first armory built in New York City to not be modeled on a medieval fortress; instead, it was designed in the Beaux-Arts style. The building was declared a National Historic Landmark in 1965, and a New York City landmark in 1983.The Armory was the site of the controversial 1913 Armory Show, in which modern art was first publicly presented in the United States, per the efforts of Irish American collector John Quinn. It has a 5,000 seat arena that is used for sporting and entertainment events such as the Victoria's Secret Fashion Show. The Armory is also the former home of the Civil Air Patrol - Phoenix Composite Squadron.

Andrew Dasburg

Andrew Michael Dasburg (4 May 1887 – 13 August 1979) was an American modernist painter and "one of America's leading early exponents of cubism".

Arthur Jerome Eddy

Arthur Jerome Eddy (November 5, 1859 in Flint, Michigan- July 21, 1920 in New York City, New York) was an American lawyer, author, art collector, and art critic.

Arthur Jerome Eddy (also referred to as Arthur J. Eddy) was a prominent member of the first generation of American Modern art collectors. His book Cubists and Post-Impressionism was the first American book promoting these new art movements and the work of Wassily Kandinsky. As opposed to the other early American collectors of modernist works, who were interested in French modernism almost exclusively, Eddy also collected the work of the German expressionists and Wassily Kandinsky. He is also known for his support of the Armory Show, purchasing work from the show in New York and Chicago and lecturing on the art during the Chicago show. In 1931, a portion of Eddy's collection was donated by his widow and son to the Art Institute of Chicago as the "Arthur Jerome Eddy Memorial Collection" which is an important core of the Museum's collection of Modern art.

Benjamin Genocchio

Benjamin Genocchio (born 1969) is an art critic and non-fiction writer from Australia. He was director of the Armory Show until November 2017, when he was ousted following allegations of sexual harassment. He was previously editor-in-chief of Artnet News, where he also faced accusations of sexual harassment. Before that, he worked as an art critic for The New York Times, and then as the editor-in-chief of Art+Auction magazine, Modern Painters magazine, and the website "artinfo.com".

Blue Nude (Souvenir de Biskra)

Blue Nude (Souvenir of Biskra) ("Nu bleu, Souvenir de Biskra"), an early 1907 oil painting on canvas by Henri Matisse, is located at the Baltimore Museum of Art as part of the Cone Collection.Matisse painted the nude when a sculpture he was working on shattered. He later finished the sculpture which is entitled Reclining Nude I (Aurore).

Matisse shocked the French public at the 1907 Société des Artistes Indépendants when he exhibited Blue Nude (Souvenir de Biskra). The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.The painting, which may be classified as Fauvist, was controversial; it was burned in effigy in 1913 at the Armory Show in Chicago, to where it had toured from New York. In 1907 the painting had a strong effect on Georges Braque and Pablo Picasso, partially motivating Picasso to create Les Demoiselles D'Avignon.

When Blue Nude was publicly exhibited soon after it was painted, it became the source of controversy that involved issues of race, race relations, and colonialism. Complaints by critics and viewers that the race of the figure in Blue Nude could not be identified, complicated the issue of "the Other." The ability to identify "the Other" was crucial to the mindset of colonizers, and a major aspect of the colonization program.

Jacques Villon

Jacques Villon (July 31, 1875 – June 9, 1963), also known as Gaston Duchamp, was a French Cubist and abstract painter and printmaker.

John Quinn (collector)

John Quinn (April 14, 1870 in Tiffin, Ohio – July 28, 1924 in Fostoria, Ohio) was an Irish-American cognoscente of the art world; and a lawyer in New York City who fought to overturn censorship laws restricting modern literature and art from entering the United States.Quinn was an important patron of chief figures in Post-impressionism and literary Modernism; a major collector of modern art and original manuscripts; and the first to exhibit these works after winning legal battles against censorship and cultural isolation. In the 1920s he owned the largest single collection of modern European paintings in the world. He fought key legal battles that opened American culture to 20th century art movements, including his Congressional appeals to overturn the Payne–Aldrich Tariff Act. He staged the first great exhibit of European modern art in America at the 69th Regiment (Fightin' Irish) Armory, New York, in 1913.

La Femme aux Phlox

La Femme aux Phlox, also known as Woman with Phlox or Woman with Flowers, is an oil painting created in 1910 by the French artist and theorist Albert Gleizes (1881–1953). The painting was exhibited in Room 41 at the Salon des Indépendants in the Spring of 1911 (no. 2612); the exhibition that introduced Cubism as a group manifestation to the general public for the first time. The complex collection of geometric masses in restrained colors exhibited in Room 41 created a scandal from which Cubism spread throughout Paris, France, Europe and the rest of the world. It was from the preview of the works by Gleizes, Metzinger, Le Fauconnier, Delaunay and Léger at the 1911 Indépendants that the term 'Cubism' can be dated. La Femme aux Phlox was again exhibited the following year at the Salon de la Section d'Or, Galerie La Boétie, 1912 (no. 35). La Femme aux Phlox was reproduced in The Cubist Painters, Aesthetic Meditations (Les Peintres Cubistes) by Guillaume Apollinaire, published in 1913. The same year, the painting was again revealed to the general public, this time in the United States, at the International Exhibition of Modern Art (The Armory Show), New York, Chicago, and Boston (no. 195). The work is now in the Museum of Fine Arts, Houston, Gift of the Esther Florence Whinery Goodrich Foundation in 1965.

List of artists in the Armory Show

The 1913 Armory Show contained approximately 1300 works by 300 artists. Many of the original works have been lost and some of the artists have been forgotten. The list of artists in the Armory Show, while not complete, includes nearly all the artists from the United States and Europe who were exhibited in the Armory Show of 1913. The list is largely drawn from the catalog of the 1963 exhibition, 1913 Armory Show 50th Anniversary Exhibition, organized by the Munson-Williams-Proctor Arts Institute. Many exhibitions have been held in the vast spaces of U.S. National Guard armories, but the Armory Show refers to the International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors and opened in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, on February 17, 1913, and ran to March 15. It became a legendary watershed event in the history of American art, introducing astonished New Yorkers, accustomed to realistic art, to modern art. The show served as a catalyst for American artists, who became more independent and created their own artistic language.

List of women artists in the Armory Show

The list of women artists in the Armory Show attempts to include women artists from the United States and Europe who were exhibited in the Armory Show of 1913. The show contained approximately 1300 works by 300 artists. A high proportion of the artists were women, many of whom have since been neglected. The list is largely drawn from the catalog of the 1963 exhibition, 1913 Armory Show 50th Anniversary Exhibition organized by the Munson-Williams-Proctor Arts Institute.The Armory Show refers to the International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors and opened in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, on February 17, 1913, and ran to March 15. It became a legendary watershed date in the history of American art, introducing astonished New Yorkers, accustomed to realistic art, to modern art. The show served as a catalyst for American artists, who became more independent and created their own artistic language.

Man on a Balcony

Man on a Balcony (also known as Portrait of Dr. Théo Morinaud and 'L'Homme au balcon), is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912 (no. 689). The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting (over six feet tall) with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.In February 1913, Gleizes and other artists introduced the new style of modern art known as Cubism to an American audience at the Armory Show in New York City, Chicago and Boston. In addition to Man on a balcony (no. 196), Gleizes exhibited his 1910 painting Femme aux Phlox (Museum of Fine Arts, Houston).Man on a Balcony was reproduced in L'Excelsior, Au Salon d'Automne, Les Indépendants, 2 October 1912. It was then reproduced in Les Peintres Cubistes, Méditations Esthétiques, a collection of essays by Guillaume Apollinaire published in 1913 The painting was completed around the same time as Albert Gleizes co-authored with Jean Metzinger a major treatise titled Du "Cubisme" (the first and only manifesto on Cubism). Man on a Balcony was purchased at the 1913 Armory show by the lawyer, author, art critic, private art collector, and American proponent of Cubism Arthur Jerome Eddy for $540. Gleizes' Man on a Balcony was the frontispiece of Arthur Jerome Eddy's book Cubists and Post-Impressionism, March 1914. The painting later formed part of the Louise and Walter Conrad Arensberg Collection, 1950. It is currently in the permanent collection of the Philadelphia Museum of Art.

Man with a Pipe

Man with a Pipe, also referred to as Portrait of an American Smoker, Portrait of an American Smoking, American Smoking and American Man, is a painting by the French Cubist artist Jean Metzinger. The work was reproduced on the cover of catalogue of the Exhibition of Cubist and Futurist Pictures, Boggs & Buhl Department Store, Pittsburgh, forming part of a show in 1913 that traveled to several U.S. cities: Milwaukee, Cleveland, Pittsburgh, New York, and Philadelphia.

In 1914 a catalogue was printed for the occasion of the Milwaukee leg of the show, 16 April to 12 May, titled Exhibition of Painting and Sculpture in "The Modern Spirit", hosted by the Milwaukee Art Society. Artists represented included Lucile Swan, Amadeo de Souza Cardoso, Manierre Dawson, Marcel Duchamp, Jacques Villon, Albert Gleizes, Fernand Léger, Gustave Miklos, Francis Picabia, and Henry Fitch Taylor. Metzinger's painting titled Portrait of "American Smoking" figured as No. 101 of the catalogue. And much as the outcry that resulted from the Cubists works at the Armory Show in New York, Chicago and Boston, this traveling exhibition created an uproar in other major U.S. cities. Though he did not exhibit with his Cubist colleagues at the Armory Show in 1913, Metzinger, with this painting and others, contributed in 1913 to the integration of modern art into the United States.

Man With a Pipe was gifted to the Wriston Art Center Galleries, Lawrence University, by Howard Green. In 1956 American Man was requested for touring by the American Federation of Arts via the State Department. The work was sent to Sweden and subsequently shown throughout western Europe. It was returned to the college in September 1957. The painting, shown here in a black and white half-tone photographic reproduction, has been missing since 1998, having disappeared in transit while on loan, between 27 July and 2 August.

Margaret Wendell Huntington

Margaret Wendell Huntington (1867-1958 or 1955 ) American painter known for her landscapes and flowers.

Modern Art Week

The Modern Art Week (or Semana de Arte Moderna, in Portuguese) was an arts festival in São Paulo, Brazil, that ran from February 10 to February 17, 1922. Historically, the Week marked the start of Brazilian Modernism; though a number of individual Brazilian artists were doing modernist work before the week, it coalesced and defined the movement and introduced it to Brazilian society at large. For Brazil, it was as important as the International Exhibition of Modern Art (also known as the Armory Show), held in New York City in 1913, which became a legendary watershed date in the history of American art.

The Week took place at the Municipal Theater in São Paulo, and included plastic arts exhibitions, lectures, concerts, and reading of poems. In its breadth it differed significantly from the Armory Show, with which it is often compared, but which featured only visual art. It was organized chiefly by painter Emiliano Di Cavalcanti and poet Mário de Andrade, in an attempt to bring to a head a long-running conflict between the young modernists and the cultural establishment, headed by the Brazilian Academy of Letters, which adhered strictly to academicism. The event was controversial at best and divisive at worst, with one member of the Academy, Graça Aranha, ostracized for attending. He had opened the week with a conference titled "The aesthetic emotion in modern art". Due to the radicalism (for the times) of some of their poems and music, the artists were vigorously booed and pelted by the audience, and the press and art critics in general were strong in their condemnation (such as in a famous episode by editor, writer and art critic Monteiro Lobato).The group that took part in the Week, contrary to their initial intentions, did not remain a unified movement. A number of separate groups split off, and the original core members had separated by 1929. Two divisions predominated: the Anthropophagics (cannibalists), led by Oswald de Andrade, wanted to make use of the influence of European and American artists but freely create their own art out of the regurgitations of what they had taken from abroad (thus the term anthropophagy: they would "eat" all influences, digest it, and throw out new things). The Nationalists wanted no foreign influences, and sought a "purely Brazilian" form of art. This group was led by writer Plínio Salgado, who later became a fascist political leader (Brazilian Integralism) and was arrested by dictator Getúlio Vargas after a failed coup.

Before the events leading up to 1922, São Paulo was a prosperous but relatively culturally unimportant city. However, the Week established São Paulo as the seat of the new modernist movement, against the far more culturally conservative Rio de Janeiro.

Nude Descending a Staircase, No. 2

Nude Descending a Staircase, No. 2 (French: Nu descendant un escalier n° 2) is a 1912 painting by Marcel Duchamp. The work is widely regarded as a Modernist classic and has become one of the most famous of its time. Before its first presentation at the 1912 Salon des Indépendants in Paris it was rejected by the Cubists as being too Futurist. It was then exhibited with the Cubists at Galeries Dalmau's Exposició d'Art Cubista, in Barcelona, 20 April–10 May 1912,. The painting was subsequently shown, and ridiculed, at the 1913 Armory Show in New York City.

Nude Descending a Staircase, No. 2 was reproduced by Guillaume Apollinaire in his 1913 book, Les Peintres Cubistes, Méditations Esthétiques. It is now in the Louise and Walter Arensberg Collection of the Philadelphia Museum of Art.

Robert Winthrop Chanler

Robert Winthrop Chanler (February 22, 1872 – October 24, 1930) was an American artist and member of the Astor and Dudley–Winthrop families. A designer and muralist, Chanler received much of his art training in France at the École des Beaux-Arts, and there his most famous work, titled "Giraffes", was completed in 1905 and later purchased by the French Government. Robert D. Coe, who studied with him, described Chanler as being "eccentric and almost bizarre." Chanler rose to prominence as an acclaimed American artist when his work was exhibited in the 1913 Armory Show in New York City.

The Armory Show (art fair)

Established in 1994 and held annually in March on Piers 92 & 94, The Armory Show is an international art fair owned by Vornado Realty Trust. Offering curatorial programming and specially-commissioned projects, The Armory Show combines access to high quality modern and contemporary art with a commitment to spotlighting new and emerging voices in the visual arts. Now in its 22nd year, The Armory Show is a major event on the global arts calendar, connecting the world’s leading galleries with international collectors, curators and art professionals in the capital of the art world.

The event, which lasts four days, has attracted crowds of up to 65,000 and reported sales of up to $85 million. Many smaller fairs and special events are held that same week in New York, effectively called "Armory Show Week".

View of the Domaine Saint-Joseph

View of the Domaine Saint-Joseph (French: Vue du Domaine Saint-Joseph) is a painting by French artist Paul Cézanne. Another name given to the work is La Colline des pauvres ("The Poorhouse on The Hill").Cézanne painted the work in the 1880s. It was exhibited in the Armory Show of 1913 and was purchased by the Metropolitan Museum of Art for the highest price paid by any gallery for a work at the Armory Show.

Walt Kuhn

Walter Francis Kuhn (October 27, 1877 – July 13, 1949) was an American painter and an organizer of the famous Armory Show of 1913, which was America's first large-scale introduction to European Modernism.

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